Continuing on with my Daily Streaming Guide for worthy titles available on various services – let’s call today the Alex Garland Edition. He’s the director behind both science fiction titles that are highly worthy of a look:
Netflix
We begin with his intelligent 2015 effort about artificial intelligence – Ex Machina starring Domhnall Gleeson, Oscar Isaac, and Alicia Vikander. Made for a reported lowly $15 million, this is the type of sci-fi that Stanley Kubrick probably would have been proud of. Machina even won the Oscar for Visual Effects over high-profile features like Mad Max: Fury Road and Star Wars: The Force Awakens. It also features one of the greatest out of nowhere dance sequences in cinematic history in my view.
Hulu
Garland’s excursion into high minded sci-fi continued with Annihilation, his 2018 follow-up. The visually stunning experience featuring Natalie Portman and Isaac (again) has themes that will stick with you post credits. And just like Ex Machina features a scene that floored me, so does this. The former involved dancing. The latter involves a human and a bear sharing the same voice. You’ll see what I mean. It’s terrifying and thrilling simultaneously.
The National Board of Review bestowed its annual honors today for the pictures of 2018 and they went green. That means it was a very good day for Peter Farrelly’s race relations drama Green Book and it might have come at just the right moment. It won Best Film at a time when its box office performance has been lackluster and lead Viggo Mortensen got into hot water for remarks at a recent event. The last three winners of the NBR top prize (Mad Max: Fury Road, Manchester by the Sea, The Post) all received Picture nominations at the Oscars (it’s worth pointing out that none of them won).
I don’t expect Green Book to emerge victorious at the Academy Awards, but this does help its case for a nomination. The NBR is also unique in that it names 10 other movies as their favorites beyond the big recipient. The list this year is as follows:
The Ballad of Buster Scruggs
Black Panther
Can You Ever Forgive Me?
Eighth Grade
First Reformed
If Beale Street Could Talk
Mary Poppins Returns
A Quiet Place
Roma
A Star Is Born
Over the past decade or so, usually 5-7 of those 11 honorees go on to Oscar recognition. In addition to Green Book, I’m currently assuming Black Panther, If Beale Street Could Talk, Roma, and A Star Is Born are in. That’s five. I’m also growing more confident that Mary Poppins Returns could manage to reach the final nine or ten nominees. The rest remain question marks. Eighth Grade and First Reformed seem to be gaining steam, but I’m uncertain they’ll get all the way to the top. The three that I believe are least likely are Can You Ever Forgive Me?, A Quiet Place, and Buster Scruggs.
Bradley Cooper took Directing honors for A Star Is Born and he’s already a safe bet for Academy inclusion. His costars Lady Gaga and Sam Elliot took the Actress and Supporting Actor races. All in all, it was a fine day for A Star Is Born. Elliot’s win is a boost for him and it’s a little surprising they didn’t name Green Book costar Mahershala Ali, considering the film’s other successes today.
Speaking of Green Book, the aforementioned Mr. Mortensen took Best Actor. He’s looking good for an Oscar nod, but I still put him behind Cooper and Christian Bale (Vice) when it comes to winning possibilities.
Regina King’s work in If Beale Street Could Talk earned her Supporting Actress and she’s a lock for Oscar inclusion.
Paul Schrader’s original screenplay for First Reformed was honored for the second day in a row after its Gotham Award. For the past couple of weeks, I’ve had Reformed just on the outside of my nominated predictions in that category. I foresee that changing on Thursday when I update them… though I’m uncertain which entry falls out between The Favourite, Roma, Vice, and Eighth Grade. Barry Jenkins took Adapted Screenplay for Beale Street and he’s got a real shot at the gold statue.
The notable snubs on the list are primarily BlacKkKlansman, The Favourite, First Man and Vice. However, it’s worth noting again that plenty of movies have missed the NBR cut and managed Oscar glory.
As for some down the line honorees – Incredibles 2 won Best Animated Film, RBG took Best Documentary, and Cold War got Best Foreign Language Film. All seem bound for the final five a couple of months from now.
And there’s your NBR report, folks! The New York Film Critics are on deck next and I’ll have a recap of that one Thursday!
A couple of days back on the blog, I speculated about what films in the 21st century would have been nominated for Best Picture prior to a rule change in 2009. As a refresher, nearly a decade ago, the Academy changed its Best Picture Nominees from a finite five to anywhere between five to ten. In that time frame, the magic number most years has been nine (it was actually a finite 10 for 2009 and 2010 before the fluctuation change). My recent post selected two pictures from 1990-2008 that I believe would have been nominated. You can find that post here:
Today comes the inverse of that column. What if the rule had never been altered? What if the last nine Oscar ceremonies honored just five features?
In making these picks, there’s obviously one extremely easy selection – the movie that won. In naming the other four, I’m looking at factors such as number of other nods it received. For instance, if a Director won that award for their work and the Picture went to something else, that director’s film is in.
So let’s get to it in this alternative Oscar universe. I’ll be reminding you all the pictures recognized and then showing my final five.
Ten years ago tomorrow, The Dark Knight was unleashed into theaters. Looking back at the summer of 2008, you could argue that the two most important superhero pics in recent memory were released in that short time frame. Two months earlier in May of that year, Iron Man kicked off the Marvel Cinematic Universe which now stands at 20 films strong. Yet it was The Dark Knight that set box office records and brought critical appreciation of the genre to new heights. In a genre that has exploded in the 21st century, many consider this to be the crown jewel. I believe it’s certainly up on the Mount Rushmore.
A decade prior to its release, Batman had run into some trouble at multiplexes with the deservedly derided Batman and Robin. It was a disappointment both commercially and with reviewers. Joel Schumacher’s two run experiment with the iconic character had dissolved into campy non-fun. In the new century, Christopher Nolan was brought in to resurrect the franchise after making Memento and Insomnia.
2005’s Batman Begins would achieve that goal, but that was not apparent immediately. Despite glowing reviews, Begins started with $48 million at the box office and $206 million overall domestically. Those are solid numbers but some context is needed. That’s nearly $50 million less than 1989’s Batman made 16 years earlier. In other words, it wasn’t obvious that the eventual sequel would turn into a phenomenon.
That’s what happened. The Dark Knight had the advantage of pitting Christian Bale’s Caped Crusader against his most known foe, The Joker. Many questioned whether Heath Ledger (coming off an Oscar nomination for Brokeback Mountain) had the goods to fill Jack Nicholson’s shoes. Early trailers indicated the answer was yes. And he nailed it with an unforgettable performance. As we know, Ledger never got to witness the acclaim. He died six months before the picture’s release and it added a tragic level of publicity leading up to the premiere.
Once Knight was released, expectations were sky-high and it earned $158 million out of the gate. That was an opening weekend record which has since been surpassed by 14 movies including its sequel The Dark Knight Rises and seven other comic book themed experiences.
The Dark Knight still stands as the 10th highest grossing movie of all time and fourth biggest superhero effort behind Black Panther, Avengers: Infinity War, and The Avengers. It received eight Oscar nominations – something previously unheard of for something in its genre. That stands as another portion of its legacy. While Ledger would posthumously win Best Supporting Actor for his work, many figured The Dark Knight should and would nab a Best Picture nomination. It didn’t. And that caused the Academy to expand Best Picture from a finite five nominees to anywhere between five and ten (nine has been the major number most years in the decade following).
While no comic book film has managed a Best Picture nomination since then (Black Panther could change that this year), that rule change has perhaps allowed non-traditional awards material like District 9, Nolan’s own Inception, Gravity, The Grand Budapest Hotel, Mad Max: Fury Road, Arrival, and Get Out to garner nods.
And The Dark Knight, for many moviegoers, proved what comic book lovers had known all along. This material, done right, could truly be a work of art.
For 22 years now, the Mission: Impossible franchise has been a sturdy and profitable one for its star Tom Cruise. Two weeks from now, the sixth picture in the series Mission: Impossible – Fallout hits theaters stateside. Early reviews have been quite impressive with some critics hailing it as the best movie of the bunch so far. One prominent critic went as far to say it’s the best action flick since Mad Max: Fury Road. The Rotten Tomatoes score stands at 96%.
In case you forgot, Fury Road got itself a Best Picture nomination. That seems highly unlikely for Fallout, but it’s fair to speculate whether voters will choose to honor it in any way. If they do, it would probably be in a technical category or two with Sound Editing and Sound Mixing being the most obvious. Fallout is being hailed for its amazing action sequences (if there was an Oscar category for Best Stunts, that race could be a wrap).
Of the five Mission‘s that have preceded this, they have a collective Oscar nod count of zero. Just that fact makes it a long shot that part 6 receives any attention. However, if some of the tech category voters want to throw it a bone, it’s not out of the realm of possibility.
A brave airline pilot executes a miraculous landing on the Hudson River…
Ok, wrong movie as Jason Reitman’s Tully is delivered to theaters next weekend. The comedic drama stars Charlize Theron as a frazzled mom who gets some help from a kindly sitter played by Mackenzie Davis. Ron Livingston costars.
Tully debuted at the Sundance Film Festival to strong critical notices and it sits at 93% currently on Rotten Tomatoes. The film reunites Theron with her YoungAdult director and screenwriter Diablo Cody, who also scripted Reitman’s Oscar nominated Juno. It’s a break from the action for Theron after pics including MadMax: FuryRoad, TheFateoftheFurious, and AtomicBlonde.
Scheduled to debut on a rather low 1200 screens, Tully may open to a fairly smallish gross with hopes of legging out well in future weekends.
24 hours can change the dynamic considerably at this time in the Oscar season. When I made my weekly Oscar predictions yesterday, Richard Linklater’s Last Flag Flying was ranked 8th in my Best Picture possibilities with Blade Runner 2049 outside at #13.
Yesterday, support for Flag wavered a bit with a mixed critical reaction stemming from the New York Film Festival. On the other hand, Blade has sharpened its chances with reviews coming out this morning. Denis Villeneuve’s continuation of Ridley Scott’s classic sci-fi pic from 35 years ago is drawing raves (it’s at 97% currently on Rotten Tomatoes). The word “masterpiece” has been thrown around by some critics.
Bottom line: its chances for a Best Picture nomination have risen dramatically. Just last year, Villeneuve’s Arrival scored eight nominations, including Picture and Director. That could happen here again. While I doubt any of the actors (including Ryan Gosling and the return of Harrison Ford in the role of Deckard) will hear their names called, there are other races in play. This includes Adapted Screenplay, Production Design, Editing, both Sound categories, and Visual Effects (where it will almost certainly be named).
And then there’s Cinematography. Again, a nomination for its cinematographer Roger Deakins seems virtually assured. If so, it will mark his 14th nomination. The list of films he was nominated for? The Shawshank Redemption, Fargo, Kundun, O Brother, Where Art Thou?, The Man Who Wasn’t There, The Assassination of Jesse James by the Coward Robert Ford, No Country for Old Men, The Reader, True Grit, Skyfall, Prisoners, Unbroken and Sicario. Number of wins? 0. There’s definitely a feeling that Mr. Deakins is long overdue for his gold statue and the 14th time could be the charm.
When I made my box office prediction for 2049 earlier this week, I compared my $44.1 opening weekend estimate to Mad Max: Fury Road from two years ago. As of this morning, I’m thinking the opportunity is there for it to come close to Fury‘s 10 Oscar nominations too.
